Story: Surya (Allu Arjun) is an irascible armed force warrior who nearly loses his activity because of a hasty choice he takes. His back up parent (Rao Ramesh) persuades Colonel Sanjay Srivasthav (Boman Irani), to give him a chance to keep his activity. But, he might have the capacity to do as such, in the event that he figures out how to get a no complaint declaration from a celebrated internationally therapist Dr Rama Krishnan Raju (Arjun). Be that as it may, Surya and the analyst appear to share an agitated past.
Survey: ‘Naa Peru Surya, Naa Illu India’ is a hard film to portray, what with such a great amount of occurring in a range of under 3 hours. The film has every one of the prerequisites of a business potboiler – there’s unbridled patriotism, an affection track, a family dramatization, a goal-oriented man endeavoring to become showbiz royalty in his vocation, a few purposes of contention loaded with goondas and other good quandaries that all play out, blended at normal interims with brilliant and very arranged tunes.
In any case, NPS is a movie that is confounded with respect to which course it needs to take. There’s solitary one key point it keeps up lucidity about – defending the evil conduct of the hero by compensating him for it. Anu Emmanuel assumes the part of Surya’s ex Varsha, the lady who as a rule endures the worst part of his conduct over and over. Be that as it may, she or anybody in the cast have not a lot to do in the film as this is Allu Arjun’s demonstrate the distance.
Allu Arjun assumes the part of Surya, a man experiencing outrage issues since he was a tyke. Leaving home at a young age since his dad declined to empower his conduct, Surya is an armed force fighter now for a long time notwithstanding inadequate with regards to the teach to be one. His life’s aspiration is to serve at the fringe and be proud for his identity. Smoking stogies, accepting lives as and when he satisfies and delegating himself as the vigilante this nation needs, Surya is a significantly imperfect and hard character to like – particularly when he mouths lines like, “Pakistani naa kodaka,” these days but then, it is he who is the legend of this story.
NPS is the transitioning story of this furious young fellow, who the group of onlookers expects will have learnt some things about teach, conduct and persistence before the finish of this film. In any case, in spite of responding to the call to do as such by the analyst, it is no spoiler to uncover that Surya returns to the starting point before the finish of this story, with everybody in his life all of a sudden never again discovering his conduct indefensible like they already did.
The film’s preface is so intriguing and the story starts with such guarantee that one marvels where everything turned out badly by the end. An officer’s battle while pursuing a war on himself to control his outrage so he can accomplish his objective is one that appears to be so reminiscent on paper. NPS has minutes where the magnificence lies in the points of interest, it lies in the manner in which an alarm plays in the BGM at whatever point Surya loses his temper, in the manner in which he dismisses the back view reflections of his bicycle since he can’t stand to see the man he has moved toward becoming or in the way he portrays himself as a firearm without shots.
In any case, all in all, NPS is a film that is difficult to like, loaded up with arbitrary devoted, sentimental and nostalgic minutes that by one means or another neglect to meet up all in all. The characters of the movie are a hard offer as well, a shockingly intense move that would’ve brought about something astounding, if just the movie had bearing. It is this absence of bearing and treatment that is the film’s demise, abandoning you nobody left to pull for.
Exceptional performing artists like Boman Irani, Rao Ramesh, Vennela Kishore, Pradeep Rawat and even Sarathkumar are squandered in the film, gave significantly less than what they merit. Cinematographer Rajeev Ravi, who took a shot at films like ‘Dev D’ and ‘Mukkabaaz’ appears to have similarly no degree to do much either, with just the tune Sainika giving a little look into what he’s prepared to do. Allu Arjun and Arjun be that as it may, are fabulous in their parts. Vishal and Shekhar’s music is a pleasure on-screen, both in the melodies and BGM.
Leaving the theater, aside from Surya’s stubborn as can be yet solid characterisation, the main other thing that will presumably stick in the gathering of people’s psyche is the vision of Allu Arjun hitting the dance floor with gay surrender in Lover Also Fighter Also. Thus, this one is entirely for Allu Arjun fans, the rest, approach with alert!
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